Olivian Cha

  • picks June 29, 2016

    Patrick Jackson

    While the title of Patrick Jackson’s current solo exhibition, “Drawings and Reliefs,” offers a seemingly straightforward description of the series of works on paper and wall-mounted sculptures on view, it also alludes to the more sensual propositions at stake for the artist: Both drawings and reliefs are conceived as images that appeal not exclusively to vision but also to touch.

    Depicting bodily forms in surreal combinations, seventeen notebook-size drawings comprise a prelude to, and source material for, the six flesh-toned sculptures occupying the second gallery. Composed with drippy watercolors,

  • picks October 20, 2015

    Trisha Donnelly

    In Trisha Donnelly’s work the deferral of meaning has become an aesthetic operation—one that extends beyond the site of display and into the systems of production and distribution that surround, and often define, the work of art. While one could identify the works in the show as photographs, videos, and drawings, the artist seems less concerned with anchoring artworks in their about-ness as much as suspending meaning in the margins of what is formally “on view.” Here, unceremonious gestures—an exposed back door left slightly ajar or the hardcover book propping up a projector, for instance—become

  • picks August 07, 2015

    Ida Ekblad

    No one would suspect that parts of Ida Ekblad’s solo debut in Los Angeles are being held in customs and are subsequently absent from the show. While the acrylic-encased paintings and junkyard assemblages on view convey a strong itinerant quality, their forms speak to a kind of nomadic urbanism rather than jet-setting cosmopolitanism. Per usual, the artist has amassed a collection of objects while rummaging dump sites across the city and has reconfigured these scraps into impressive formal constructions that inevitably summon decay and salvage in their aesthetic register. Ekblad’s materials are

  • picks May 06, 2015

    Anne Truitt

    One could easily group Anne Truitt’s drawings and sculptures under the art-historical category of Minimalism. Some have done so. Indeed, the black-and-white works currently on view undoubtedly exhibit the clean geometry and monochrome surfaces endemic to the now familiar—mostly male—canon. Truitt’s three-dimensional works similarly confront the categories of architecture, painting, and sculpture with a malleability that became ubiquitous by the end of the 1960s. White: Four, 1962, for instance, conveys both the austerity of a tombstone and the domesticity of white wood siding in its slender,

  • picks February 23, 2015

    Fiona Connor

    Perhaps it is Parker Ito’s elastic installation in a warehouse behind Chateau Shatto that best reflects our current moment of fingered screens, zooming surfaces, and gleaming connectivity. Or maybe it is Liz Craft’s web of yarn, skeletons, speech bubbles, and ceramic dicks at Jenny’s that offers a timely response to our present social and aesthetic desires by way of desublimated Pop scenery. Another approach: Fiona Connor’s exhibition, “Community Notice Boards,” addresses the influence of Internet technologies on new modes of communication by calling on the social networks of sites experienced

  • picks November 23, 2014

    Howard Fried

    California is facing one of the most severe droughts in its history. While Los Angeles appeals for conscientious sprinkler use and reduced car washing, Howard Fried’s Sociopath quietly waters the sidewalk outside of the gallery in which it is installed. First shown in 1983, the work consists of a two-tiered sink that dispenses tap water from its perched faucet to the trough of a precarious plywood platform and a series of irrigation pipes that traverse the gallery floor and walls. Embodying a kind of empty functionality, the pipelines run seamlessly with the industrial framework of the gallery.

  • picks August 06, 2014

    “Bad Influence”

    By the mid-1980s Jean Baudrillard’s “simulacral” buzz was peaking, and the artists featured in Andrew J. Greene–curated “Bad Influence” responded to the dislodgment of exchange value (from commodity object to brand logo) with a mix of cultural and technological anachronisms. Produced between 1985 and ’92, works by Gretchen Bender, Ashley Bickerton, Wim Delvoye, and Jonathan Lasker offer a compelling account of a decade, but the show’s main provocation points to an anxiety of influence. See Bickerton’s sculpture Seascape: Floating Costume to Drift for Eternity III (Elvis Suit), 1992: Surrounded

  • picks June 25, 2014

    Fred Lonidier

    The works on view in Fred Lonidier’s latest exhibition were produced shortly after the use of documentary photography and language was established as the dominant aesthetic strategy of Conceptual art. By the mid to late 1970s, Lonidier and his contemporaries, including Allan Sekula and Martha Rosler, employed similar means for more explicitly political ends. “How does photography serve to legitimate and normalize existing power relationships?” Sekula once asked. Lonidier’s practice responds with polemic force, asking in turn how the medium—and other modes of documentation—might also disrupt and

  • picks May 06, 2014

    Mary Weatherford

    Following a series of exhibitions titled “The Bakersfield Project,” “The Bakersfield Paintings” and “Manhattan,” (all 2012), “Los Angeles” is Mary Weatherford’s fourth show of neon-light paintings that takes inspiration from the places she has lived. As in her former work, lines of light in various colors, lengths, and convexities uniquely illuminate each of the seven paintings on view here—but the color palette compared is decidedly less pavonine. Flashe paint is applied in thin but muddled layers that permeate each canvas with a kind of dirty acrylic pollution. In most of the pieces, brighter

  • picks February 24, 2014

    Pablo Bronstein

    “Enlightenment Discourse on the Origins of Architecture,” London-based artist Pablo Bronstein’s commissioned project for REDCAT, is not so much a scholarly investigation of architectural “origins” but an incisive experiment in formal and functional equivalence. The exhibition presents sculptures and drawings that plumb the gap between idealistic mediations of built space and lived reality. A collection of red furniture pieces emulate the configurations of an eighteenth-century Neoclassical interior while the drawings, which depict windows and arched entryways with sparse treatment, seem to